Album review: Prezir - As Rats Devour Lions (2018)

Prezir - As Rats Devour Lions

Poland

Godz of War 

I’m a cranky old-fart metal elitist. Yet, somehow, I found myself reviewing new albums in the most life-embittered way. This review is the story of the album “As Rats Devour Lions” by Prezir.

Prezir is an interesting band. They come from Milwaukee, WI in the USA, but they maintain a connection to the Balkans. The name of the band is the Serbian word for “Contempt.” And this fits the band’s music nicely. They are distinctively American, but they do have European undertones in their music.

Prezir describes themselves as Anti-Ideological Metal, which is accurate, considering the lyrical content. For simplicity’s sake, I would say that they straddle the line between several genres, but I think they lean closest to War Metal. They are definitely Black metal, but they incorporate elements of Death and Thrash Metal.

This variety is for a reason for this. The various members have been involved in multiple very different bands over the years. Rory Heikkila (Gust, Heedless Descent, Promethean Parallax, and Shroud of Despondency) and Tyler Okrzesik (Cholernik and Sillage) are on guitars; Luka Đorđević (Khazaddum and Promethean Parallax) is on vocals; Brian Serzynski (Pig’s Blood and Shut In) is on drums; Jerry Hauppa (Ara, Concentric, Northless, and Steel Iron) is on bass. These are working musicians who keep their skills sharp.

“As Rats Devour Lions” was released 18 August 2018 by Godz ov War on CD; and they selfreleased it digitally and on cassette. This is their second release; their first being “Contempt” back in 2017.

This is a varied and enjoyable record. Yes, it maintains a traditional Black Metal sound and feel, but it is much stronger than most Black Metal records – thanks to a noticeable Thrash influence. The vocals range from high-pitched Black to deep Death styles. What really is exemplary in this album is the how the interplay between the guitars and bass. I should mention at this point that I can hear a very strong “Anthems”-era Emperor influence in the guitar playing. And this is a very good thing.

While there are no particularly weak songs, this album has several tracks that stand out. “Dar alHarb” has some outstanding interplay between the guitars; it’s reminiscent of “Howl Ravens Come” by Einherjer. “Serpents in the House of Ra” is downright groovy – not groove metal, but groovy; I don’t know any other Black Metal song that I can say this about. 

“Hamatsa Death Ritual” is the high point of the album. It shifts gears seamlessly, has a good solo, and the instruments play off of each other really well. It also has this certain intangible something that makes it great.

“As Rats Devour Lions” was produced by Shane Hochstetler. The production on this album is clean, so all the instruments are clear. They complement each other instead of fighting for the listener’s attention.

Now, the lyrics – Despite what the scenesters will have you believe, Black Metal was created to be offensive to our most dearly-held beliefs. And Prezir delivers. As I pointed out before, they play “Anti-Ideological Metal,” and they spare no one. All the major religions and political stances are directly criticized in this album; and they do this to encourage the listener to form his own opinions as an individual. Also, these criticisms are not vulgar and mindless; quite the opposite – they are rooted in history. Each song gives a historical context and reason for their criticism. These lyrics are what really make Prezir stand out from the hordes of Black Metal bands.

Prezir’s “As Rats Devour Lions” is one of the very few bands that hold true to Black Metal’s roots while playing music that is both intelligent and enjoyable. If they continue to grow in this direction, they will become legends. Black Metal fans should run out, and buy this album, because you will not find a more honest and engaging album. (Hiram 3-5-7)

Album review: Cerebral Rot - Excretion Of Mortality (2021)

Cerebral Rot - Excretion Of Mortality

USA

20 Buck Spin

Cerebral Rot is back in the game with their second album "Excretion of Mortality" which is once again full of blood, pus and mutilations, courtesy of 20 Buck Spin. That being said, you can expect nothing but an infestation in the ears with this profoundly disgusting, morbid and frenzied death metal attack!

The first thing that came to mind when I heard the album was the auspicious mix of influences. At the beginning of the song "Excretion of Mortality" you can hear a guitar part that seems to vibrate like a swarm of insects, which adds a lot of suspense and anxiety when the drums start in a slow tempo like a funeral procession. The tremendously deep vocals are vomited with blood along a bass that sounds like a wall of bones. At this point, bands like Demilich, Adramelech, and Abhorrence come to mind. A strong Incantation influence appears when the faster, more dissonant parts are invoked – even Autopsy comes to mind. The melodies are distinctly Finnish, whereas the dissonance sounds American. Everything sounds decidedly organic and at the same time decomposed. The next song "Vile York of Contagion" brings to mind the perfect fusion of Demilich and Morta Skuld. It is incredible how they devour the brain fluids of the great dead of yesteryear to regurgitate them and make it even more rotten. Everything sounds so familiar, yet thoroughly enjoyable. 

There are only 7 songs, although each putrid hymn exceeds the 5 minute mark and is drenched in a nauseating atmosphere that does not make you run away from the smell, but rather, sustain you from the guts. Beyond this, the songs follow a particular style of performance which can become somewhat predictable, but still great. I don't think they bring too much fresh air to death metal, especially considering how many bands are playing this style, although I do consider it as some of the best of its kind. "Excretion of Mortality" is a killer offering that expels its toxic waste with a noxious essence redolent of the dead. (Catacombs Walker)

Interview: Hexorcist (2021)

There are still bands who believe in the old ways that keep the unholy flame of black/death/thrash alive. One such band in particular, is HEXORCIST from Florida. They are one of my favourite new bands and feature veterans and former members from DEVASTATOR. Enjoy the conversation, and remember: IF YOU ARE FALSE, DON'T ENTRY!!

AVE!!! To inaugurate this interview, please tell us what Hexorcist is all about with an idea of your sound and influences.

Hails and thanks for the opportunity to be interviewed by your zine. The idea behind Hexorcist was to make music we’d listen to. Like most metalheads we miss the old sound of Metal. Not just the production and sound but the rawness of the music, the energy behind it, the fact that styles weren’t as defined as they are today. Black and Death metal were mixed with Thrash and it was all just a cauldron of evil sound. Our influences range from Celtic Frost, Possessed, Kreator and Morbid Angel amongst many others to list. Once you listen to “Evil Reaping Death” you’d be able to pick out all of our influences, we try to make it obvious through our sound what they are, without plagiarizing.

How was the band initially conceived and what is the connotation behind the name?

In 2019 we tried to restart a band where we had all played called Devastator. The reunion didn’t happen because we couldn’t get all the members to come back. We decided then to switch the style to incorporate more of our other influences like Sarcófago and Morbid Angel instead of a more Black/Thrash sound we had in Devastator.

The name was a pain in the ass for all of us to agree on. We went through at least 6 or 7 before we made a final decision. The guitarist came up with the name, with the idea that an Exorcist removes the evil from within, but the Hexorcist hexes evil into the body.

Where does the inspiration stem from to create such dark and blasphemous art and what are your lyrics based on?

The music just flows naturally, there’s actually not an intent to make it sound more evil or darker, it kind of just happens. Making happy Death Metal is also contradictory to the genre itself. Some people have said that we have some of Black Metal’s darkness in our sound, that may stem from us being highly influenced by It.
The lyrics are simply a combination of real hatred with songs about the occult. With the lyrics we also wanted to bring that old school, back to the beginning feeling. When lyrics were about evil, and darkness. No politics, no society, no zombies and pizza. The lyrics have to represent what the band is about, even though the band is a hobby we take it very seriously and the lyrics represent that.

What are the key differences between the demo and full-length? Are you satisfied with the final outcome and product? How are the reactions so far?

The demo and the full length are not very different besides maybe some production aspects. Most of the songs you hear in the full length were already done by the time we recorded the demo. The full length is more of a continuation of the demo. On the full length we had a change of bassist too, who also provided solos to some songs.

We are very satisfied with the way it came out. We were lucky to work with a great sound engineer that managed to catch the essence of what we were going for. Good sound but not over produced.

For the demo the response far surpassed what we hoped for. Initially we were just going to make 50 cassettes ourselves and give it to friends. But we were lucky and now we are even getting a 7” from Headsplit and Tenebrous Aberrations and a cassette repress from Goatthrone. The reviews and listener feedback for the full length has also been amazing. Reviews as well as listener feedback are full of praise for both the demo and the album. It is still early for the album but all reviews have been very positive.

Your music is quite straight-forward, yet the members in the band are verily capable musicians. I’m particularly impressed with the guitarist and how the solos are able to rip through my brain. Is there a certain limit to which the members apply their skills?

Thank you for the compliment! Well, there are 2 different guitar players both playing leads and Bass, one did all the rhythms and leads, the other mostly all the bass and leads. The idea was to have two different guys playing two different styles but to be honest, it’s hard to tell which one played which lead, they sound like the same guy. The drums are meant to follow and emphasize the music as a whole, no showing off, or unnecessary fills.

Can you tell us a little about your cooperation with all the record labels you’ve worked with so far? Are you content with the support you’ve been getting?

We have worked with some of the best underground labels. Starting with Dark Recollections and Goatthrone for the demo, to Memento Mori, Godz Ov War and Unholy Prophecies for the full length. We also worked with Old Skull Productions on a European cassette release of the demo and are working with Headsplit and Tenebrous Aberrations on releasing the demo on 7” vinyl.

All the labels have been great. Them as well as us are not in this to make money or become famous, we do this because we love Metal. Getting feedback from them and just the fact they want to release our music is a compliment, because it’s not a business transaction it’s more of I like what you’re doing let me help you spread it.

I believe it was Wagnar Antichrist who asserted: “We did everything we did for fun. Business kills real feelings and real music! To be in it and treat it like a business is the first step to do FALSE METAL!” - what are your thoughts regarding that sentiment and is there any “fun” in what you do?

He couldn’t have said it better. We can see that in many of the older bands, once it becomes a business all the fun and the feeling behind the music dies. For Metal that is especially true, that is why most bands best albums are usually the first. Because then it becomes a race to play what people want to listen to instead of what comes naturally. With Hexorcist we approach each song as unique. We just get together and play what comes naturally, we don’t over-think it too much.

On a personal level playing and releasing albums is my addiction. Nothing beats that feeling of getting your music on a physical format for the first time. This for me is 100% a hobby. There’s no intention to make money off of this at all. Our plans are whatever money is made through sales gets put towards the recording of the next album or something band related. I have been playing for over 20 years and I have spent 1000 times more money than I’ve made, and do not regret a single moment.

Tell us about the excellent artwork for “Evil Reaping Death” and what your vision for it was. Did the artist meet your expectations?

That artwork was actually purchased months before we even had all the songs ready. I think about mid 2020. I am a big fan of the artist and previous paintings he’s done. One night I was just looking at his page and saw he had posted that painting and I immediately contacted him about purchasing it. It resembled exactly what we thought the album was going to sound like. The artwork just looks like Demons bringing Evil Reaping Death. We are definitely thinking of using the same artist for our second full length.

Your opinion on the following:

The vatican: Would love access to their library of witchcraft and historical satanic texts! Besides that they’re nothing but a bunch of pedophiles.

Fanzines: Essential!!!

Satan/God: We are all Satan and Gods!

Sadistik Exekution: An excellent band! The Magus is a classic. They not only inspired many bands to follow in their footsteps musically but also visually. ROK’s artwork is very distinctive and unique.

What can you tell us about Doug Humlack and your tribute to him?

He was a good friend to the guitarist, he passed away last year and was a big influence and played in a lot of the local bands that he grew up seeing and associating with. Doug was an exceptionally great guitarist who didn’t flaunt his abilities. He could play anything as ugly as Blasphemy to something as precise as a Malmsteen song. Sentry At The Seven Gates is a small tribute to his memory. The latest band Doug was involved in was Spiritus Infernus, a band with virtually zero promotion and lack of good packaging/presentation on any physical media (some CDs were made) but the music is evil, and sick as well as the lyrics. Real witchcraft!!

Why did you choose to cover the band Devastator? I actually checked them out and was thoroughly impressed! Quite underrated I may add.

When we started the band it was supposed to be a Devastator reunion. When it became obvious it wasn’t going to happen we felt we wanted to do one last Devastator tribute. I was the original drummer from Devastator and the guitarist played in it for a short while back in 2002. In Devastator we were just a bunch of Cuban refugee kids playing Black/Thrash and drinking three times a week, we just wanted to make music and record. The fact that we managed to record 6 albums with the amount of time we spent playing dominoes and drinking it’s crazy. The spirit behind Hexorcist, if not the music, is very similar to what Devastator was about.

What is your opinion on the current state of the underground? Some say it’s dead, while others still believe in its ethos. If it was dead, would we be doing this interview at all?

The underground is not dead, saturated yes, but not dead. I do believe there’s way too many bands doing the same thing. Too many bands with more shirts than songs. But on the same note there are some really great newer bands. Anything coming out of Chile is just amazing and then you’ve got bands like Putrid, Evil (Japan), Morbid Messiah, Rapture (Greece), and Oath of Cruelty that are just killing it. The old days where everything was new and original are never coming back, but we can enjoy the many styles that came out of that era and are still being represented today. We are never going to get another “Altars of Madness”, or a “666” by KAT, at least not on those levels of perfection.
On the support side there are many more avenues for promotion than back in the day. There are many printed and online zines that do a great job helping newer bands like us get our names out there.

What’s some newer bands that you’ve been into?

The latest releases I’ve been listening to a lot are the latest Apostasy from Chile. It's just an amazing album, definitely worth it for anyone that’s a fan of late eighties Death, Thrash, Black Metal sound. The latest from Insane (Swe) it’s a great Thrash Metal album. Rapture (Greece), their last two albums are beyond most stuff being released nowadays.

Thank you for your time! I wish all the members in Hexorcist an eternity of hell and darkness. You may now hurl a final insult at all whores, posers & cunts out there…

Take your own life today, it’s not too late we believe in you!

Demo review: Temple of Gorgon – Worshipers of the Serpent (2021)

Temple of Gorgon – Worshipers of the Serpent

California/USA

Self-released

Temple of Gorgon is a breath of fresh air after being exposed to some perniciously awful post-black metal band on youtube. This is more like it! The debut demo from the Los Angeles-based solo-project Temple of Gorgon features 3 tracks of raw and intense Black Metal. It’s nothing remarkably unique, but some individual touches manage to shrine through. In a way, the music reminds me of bands like Crimson Moon, Masochist, and Demoncy. That being said, it has that idiomatic USBM sound stamped all over it – fury-fueled vocals charged with blasphemous riffs and a crescendo of malicious blasts and fiery double-bass. There’s also the presence of keyboards, which are sparingly used to add depth to the atmosphere rendering it a kind of occult feel. It’s a really killer demo clocking in at 13 minutes. The band infuses all the right ingredients – from the visual representation to the music – Temple of Gorgon will undoubtedly gain some followers as the quality of the output is undeniable. So behold, worshipers of the serpent, as we enter the Temple of Gorgon! (HT)

Demo review: RTNGJHVH - Rotting Jehovah (2020)

RTNGJHVH - Rotting Jehovah

USA

Blasfemas Records

"Rtngjhvh" – which stands for "Rotting Jehovah" – is a solo project from Kentucky playing barbaric black/death metal informed by bands like Proclamation, Abhorer, etc. The demo in question features 7 tracks & 26 minutes of blasphemous filth that will rape the severed head of Christ before impaling it on a spike. The overall sound is considerably raw and primitive. There are no traces of any melody to be found here. This shit is vile, primal, and profoundly filthy. The sound is utterly bestial and crude, and will only appeal to the most diehard maniacs into this style. Disgusting riffs, caveman vocals, and sloppy drum beats are maliciously thrown together and scattered over 7 tracks of unadulterated morbid metal mayhem spawned straight from the rotting corpse of God. If you like any of the bands mentioned earlier, then check them out. And If you’re anything like me, and have a penchant for collecting rare & sick demos from obscure bands, then be sure to grab a copy from Blasfemas Records before it’s too late! (HT) 

EP review: Oppressive Descent – The Watcher’s Tower (2021)

Oppressive Descent – The Watcher’s Tower

USA

Self-released

This is a one-man project from Portland, Oregon, that was formed in 2008. He has 2 full-lengths under his belt as well as numerous EPs and splits. The sole member of this project has also played in a myriad of other projects, but most notably black/doom band, Death Fetishist.

Raw, melancholic, channeling total negativity at the listener, Oppressive Descent's recent EP, "The Watcher's Tower" clocks in at around 16 minutes. The EP has three tracks, with track 2 being a dark ambient segment that ties the first and third tracks together. There is definitely some depressive elements present, though they are overshadowed by a very sinister and malevolent atmosphere. The production is an ideal level of raw, maintaining both atmosphere and clarity. There is a good contrast of mid-paced and scissor blast passages. The former being more aligned with classic second wave, and the latter delving into the realms of depressive and atmospheric black metal. The entire album has a very droning and numbing effect on the listener, as if you're feeling exactly what the artist was feeling when they were writing the music.

Overall, a very short and to the point release, definitely better than most black metal that delves into the "depressive/suicidal" territory of sub-genres, since it's more on the scornful side of things. (AR) 

Album review: Gravewurm - Funeral Rites (2020)

 

Gravewurm – Funeral Rites

USA

Funeral Empire Records Ltd.

Gravewurm is an American black/death metal band formed in 1992, in the city of Clarion, Pennsylvania. In the span of 21 years they have released a whopping 17 full lengths, not including EPs, demos, or other releases. So it means they are no amateurs to their craft and it very much shows on their 16th full length, 'Funeral Rites', released at the beginning of last year.

Overall, this release is a well executed black/doom full-length. The delivery is menacing, focusing on a more midpaced, riff-oriented approach to black metal. Though the vocals don't have much dynamic to them, they are consistent, suit the music and are evil in delivery.

The guitar tone is appropriately bright and high gain to compliment the disgusting riffs excreting out, giving the listener a sample of how a chainsaw in their ear drums would feel. A solid balance of catchniness and depravity can be heard within the 10 songs on this album. The fluidity of how each song shifts into one another makes this album cohesive, keeping the listener captivated.

Funeral Rites almost sounds like a more black n' roll Craft or Carpathian Forest, whilst putting more emphasis on the "black" part of black n' roll. On top of all this, there are mid-paced thrashy riffs thrown into the mix as the cherry on top. Near the end, the album begins to sound mildly stagnant, however, I only felt this for the final song, which is a good thing. Funeral Rites ends up being exactly as long as it needs to be. This is an album I would recommend it to anyone who laments that black metal does not have enough real riffs these days. (AR)

Album review: Hexorcist - Evil Reaping Death (2021)

Hexorcist - Evil Reaping Death

Florida / USA

Memento Mori

“Evil Reaping Death,” the debut album by Hexorcist, features 10 tracks of unholy death metal madness, boasting a sound that is both fresh and redolent of the ‘80s. The opus will be released through Memento Mori on July, 26th.

This whole album is permeated with a sulphurous aura of doom, and a sound rooted in occult black/death/thrash. Trace elements can be heard from bands such as Slayer, Morbid Angel, and Possessed, but also some similarities can be drawn with more contemporary acts like Necros Christos and Ares Kingdom. It’s a pretty hard-hitting affair of stomping death metal with strong thrashing tendencies. A blackened atmosphere pervade this record, as each song is filled to the brim with sharp, caustic riffs, and a stripped down brutality that goes hand in hand with the production, which is clear and powerful without losing any of that raw edge that gives the music its charm. Throw in some savage, evil vocals, along with a plethora of filthy riffs, bone-cracking bass, and well-executed drums, and we have a classic in the making. Every second of this album is geared towards the glorification of hell and darkness. The eerie glare subdues you once you put this on.

All in all, “Evil Reaping Death” is a decidedly excellent burst of well-composed, sepulchral death metal with a penchant for atmosphere and thrashing violence. I believe with this release, the band will surely establish themselves as a household name in the underground and a force to be reckoned with. Do not miss it! (HT)

Album review: Polemicist – Return of the Sophist (2021)

 

Polemicist – Return of the Sophist

Pennsylvania / USA

Hessian Firm

French label, Hessian Firm, has a predisposition toward unearthing some of the most innovative, yet killer bands in the underground, and you can always expect nothing but top-tier releases from said label. That brings us to Polemicist: a black/death duo (employing some session members) from Pennsylvania that will release their second album “Return of the Sophist” on June 25^th, through Hessian Firm.

Intro “Dirthyramb” inaugurates this disc on a calm note before “The Way To Delphi” kicks the album in high gear, with harrowing vocals and a mournful guitar ambience composed of melodic underpinnings and incisive drums (notably played by Pendath of Mefitis fame). The music isn’t particularly technical, yet so full of emotion and depth, that you will be entranced by its mystic aura. Polemicist aims for a sound that is not typically heard in metal nowadays, with compositions that are catchy, energetic, and full of interesting ideas and textures.

“The Cave of Gaia” is a monstrous track with powerful melodies and an atmosphere that will compel you to the dark side. There’s definitely some hints of progressive rock in their sound, which are skilfully integrated, including the fact that there are some really excellent solos scattered throughout the album. I like this kind of melodic black/death metal. It’s atmospheric and easy to get into. It’s not plastic sounding, which makes it appeal to a more underground audience. In fact, I would put this in the same category as their label mates Mefitis, since both bands employ similar aesthetics, and can be categorized under the “dark metal” umbrella. This album is definitely no one track pony and features a great deal of variety, which gives it a lot of value in repeated listens, paired with how well everything is arranged.

“Return of the Sophist” is a purely awesome album and could easily be regarded as one of the highlights of the year, offering us an emphatically well-crafted palette of black/death metal brimming with darkness and passion. (HT)

Album review: Haunter - Sacramental Death Qualia (2019)

Haunter - Sacramental Death Qualia 

Texas / USA

I, Voidhanger Records

Haunter, a four-piece band hailing from San Antonio, Texas, plays progressive black/death metal on their second full-length album, “Sacramental Death Qualia,” which was released by Italy’s I, Voidhanger. There’s a good deal of variety to be found on this album. The songs are quite lengthy, with the shortest track being around 7 minutes and longest track 12 minutes.

Musically, their sound bears resemblance to bands such as Opeth, Blut Aus Nord, Akercocke, etc. As a whole, the performance on this album is quite proficient, and shows a group with a knack for well-crafted compositions and an atmosphere that is nothing short of epic. The album is nicely balanced between extreme and more somber moments. When it’s heavy, it’s pretty damn heavy. The band also has a penchant for haunting clean acoustics, rendering to the overall prog vibe.

“Sacramental Death Qualia” is idiomatic to the kind of strange, experimental, and ominous metal that I, Voidhanger specializes in, and that can be a good thing or bad thing, depending on your taste. Personally, I’m quite fond of Haunter’s take on progressive metal, since they are able to retain a dark intonation and do not sound overly self-indulgent. It’s a prime example of the style done right. A highlight from 2019. (HT) 

Album review: Northern - Cabin Fever (2021)

 

Northern – Cabin Fever

New Hampshire / USA

Sinistrari Records

Northern (formerly known as Cold Northern Vengeance) will soon release their second full-length album entitled “Cabin Fever” via Sinistrari Records. 

The latest album from these New Hampshire harbingers of death is a cold and furious blast of gut-wrenching pagan/black metal darkness that will unequivocally raise a few dead souls. The atmosphere on this album is morose and beautifully melancholic, which is ideal for a snowy and isolated winter setting. Deep and abrasive howls are belched out atop an array of glacial riffs and swift, well-executed drums. The vocals are effectively delivered, powerful and quite comprehensible. The production is unpolished and veritably raw, which is quite fitting to the overall atmosphere. Tempo-wise, it ranges from fast to mid-pace to slower, more brooding passages. Each song on this album sounds like it was recorded in one take, which adds to its charm. However, the production does sound a little inconsistent on some of the tracks.

“Cabin Fever” is one of those albums you need to listen to when you’re alone in the woods with a couple of beers, or just taking a hike on a cold day. Don’t mistake it for some fruity post-black metal outfit. The tone is rancid and grim.

Clocking at 25+ minutes, the 7 songs on “Cabin Fever” will certainly tickle your fancy if you like cold, harrowing black/death with a frosty aura. (HT)

Split review: Churchacide / Plaque Swarm – Eschatological Retaliation (2021)

 

Churchacide / Plaque Swarm – Eschatological Retaliation

Texas / USA

Antichriconoclast Productions

I had a chance to listen to this killer split a few times over the weekend (whether I was running errands or just listening to music) and I just want to say right off the bat that this is one murderous fucking split from start to finish. The split will be released by members of Churchacide’s own label called Antichriconoclast Productions (good luck pronouncing that!) which specialises in releasing material related to the members’ respective outputs.

Both bands hail from Texas, and first up on this split is Churchacide, presenting us with a total of 7 tracks containing feral, crude old-school death metal with raspy vocals reminiscent of Pete Helmkamp. The music is predominantly mid-paced with faster sections interspersed throughout. The production is clear and sharp, which gives the music extra bite. Guitars are frenetic and well-executed, consisting of first-rate riffs and solos sharp enough to split your brain in two, while the drums are also good, but retains a kind of sloppiness that adds to the charm of the music. The bass is heavy and noticeable in the mix, which is nice. Overall, the performance from Churchacide is fucking solid. Favourite track: Imammolation

Plaque Swarm dominates the next half of the split and offers up a clangorous whirl of evil and hypnotic black/death metal, with a sound redolent of bands like Dead Congregation, Death Worship, and Perdition Temple. The atmosphere is massive and filthy, which hovers over the listener like a cloud of destructive darkness. The ambiance is decidedly dark and full of sinister cadences due to the droning wall of sound created by the guitars and ridiculously fast drums. The vocals are very fitting for this style: crude, deep and menacing. The skull-fucking sonic assault of Plaque Swarm is definitely not for sissies and will appeal only to real maniacs, and perhaps even serial killers. Favourite track: Spectre of Doom

You really have to be in the mood for this kind of heavy, merciless black/death, because the brutality of this split will knock you flat. Both bands come highly recommended to maniacs into proper metal. (HT)

Album review: Crimson Moon - Under the Serpentine Spell (2005)

 

Crimson Moon - Under the Serpentine Spell (2005)

USA

Total Holocaust Records

It wasn't until the first time I listened to Crimson Moon that I began to envision where the path I had been following for some time was leading me. It has remained one of the greatest influences on what I create. "Under the Serpentine Spell" is unlike any other black metal record. The ambience generated by the synths on this one is the element that really makes it stand out. While the production isn't particularly great, it's defnitely ideal for the compositions that make up this lengthy opus. The bass is prominent and has a tone that is suitable for the somewhat muddy sound of the tracks, just like the guitars. Even though the percussions are done with a programmed drum, every aspect of the recordings sounds incredibly good and there is hardly anything that could have been done better. If you listened to other releases of Crimson Moon, you know what to expect from Scorpios' vocals; aggressive, unorthodox and bestial rasps. He also does spoken word vocals in several parts of the record as well as some chants.

The first full-length "To Embrace the Vampyric Blood" is no less impressive and has a more consistent sound throughout its duration, but its successor has had a tremendous impact on underground black metal as well. The guitars are at times more or less buried by the other instruments, but it isn't an issue because the bass is supposed to be just as important in the songs and the riffs could be considered as part of the overall atmosphere. There is so much detail within the recordings that it's easy to remain captivated by it for hours at a time. Everything about it is chaotic yet refined and at times it gets quite eerie and oppressive. The guitars are different from what other bands in the genre have delivered, creating alongside the bass an elaborate and fierce sonic onslaught. Although not so loud, the percussions are powerful and precise, reinforcing the relatively dense soundscape that the other elements culminate into. The intro and outro are magnificent synth compositions that sound both sinister and phantasmagoric, and complement very well the substantial and evocative tracks of this ambitious output.

For me this is a truly marvelous album without any real flaw. Hipsters stay away from this. (Nahas)

Highlights:

The Blood that is Eternal

Amidst the Labyrinths of Depression

Under the Serpentine Spell

Bloodstained Dreams of the Dragon